The first painters who ever walked the earth must have had a very limited palette of color at their disposal. The hues of paint found on cave walls, after all, are few and were certainly related to the nearby flora and fauna. It must have taken literally thousands of years before there were enough pigments gathered together in one place to complete the color spectrum and what's more, someone had to make that ‘magical’ connection to the rainbow along the way, first discovering that color itself is a circle. Retrospectively, this was a groundbreaking moment in the evolution of human kind, for only afterwards did it become possible to generate such eventual advances as color photography, X-rays, infrared, and more-accurate maps of the heavens (the exact wavelength of light being a necessary ingredient in calculating the distance, size, and composition of a visible star).
The evolution of musical understanding has followed a notably similar route; for, in the beginning, music was obviously not written, but sung. Our current system of musical notation is a relatively recent development when placed in the evolutionary context of humanity. Thousands and thousands of years must have passed before that first written note: a huge expanse of time during which people simply sang what sounded good to their ear, not paying any attention at all, to the fact that music was actually circular by nature.
Lopsided shapes have a “root” or a tendency towards stability: a lopsided sound (the Major triad, for example) likes to “sit” in a certain way. Symmetrical shapes, contrarily, have no root: every point of the shape being inherently equal to every other point. Symmetrical sounds (the fully diminished seventh chord, for example) have no place to sit and are thus “strange” or unstable. Because of this phenomenom, it is (retrospectively) no wonder that the master musical patterns, evolved over the centuries, ended up being lopsided by nature.
Out of this period of time there evolved three main scales or ‘patterns’ of musical tone, each pattern allowing for a complex layering of internal structure. These three scales, each made up of 7 notes, would eventually become the foundation for virtually all musical education in the modern world. There are, of course, other scales, and it is possible to create any arbitrary pattern of notes that one might desire; but the vast majority of musical sound can still be traced back to these three primary scales. Although the systems and methods disclosed herein can be used to encompass any possible scale or pattern, without exception, the present description of the musical language is, for clarity of description, based upon the three primary scales.
Each of the three main scales is a lopsided conglomeration of seven intervals:
Major scale: 2 steps, 2 steps, 1 step, 2 steps, 2 steps, 2 steps, 1 step
Harmonic Minor scale: 2, 1, 2, 2, 1, 3, 1
Melodic Minor scale: 2, 1, 2, 2, 2, 2, 1
Upon first recognizing these archetypal patterns of seven notes, these beautiful lines of tone that allow for complex musical layering, the first developers of musical notation decided to use the seven note scale as a foundation for music's written language. Therefore, our entire musical system has been based upon the use of seven letters (or note names) to correspond with the seven notes of the scale: A, B, C, D, E, F. These first developers of musical notation would have had no way of knowing that the musical scales were, themselves, lopsided entities; that, instead of seven tones, the true musical circle had twelve tones. Because of this discrepancy, the traditional system of musical notation has been inherently lopsided at its root. With a circle of twelve tones and only seven note names, there are (of course) five missing note names. Just as the first painters did not have all of the colors of the rainbow at their disposal, the first singers and musicians had no way of knowing that sound was also circular by nature.
Why is reading and writing music such a difficult skill to master? It would certainly be challenging enough, without the fact that the traditional system uses only seven letter names to try to encompass twelve notes. But the remaining five notes are then covered using a convention referred to as sharps (#'s) and flats (b's). What this leads to is a relatively complex method of reading and writing notes on the staff, where one has to mentally juggle a key signature with seemingly arbitrary accidentals (sharps and flats) that are then added one note at a time. The result is that the seven-note scale, which is a lopsided entity, is presented as a straight line on the traditional musical notation staff. On the other hand, a pattern that is truly symmetrical within the circle (one that is actually a straight line, such as the chromatic scale, for example) is presented in a lopsided manner on the traditional musical staff. In our traditional system of musical notation we never see what we hear; there are significantly more ways than one to write the same musical idea; and patterns that are lopsided look straight, while straight patterns look lopsided. All of this inefficiency stems from the inherent flaw of the traditional written system being based upon the seven note scales instead of the twelve-tone circle.
Yet it is commonly understood and accepted that music is, indeed, a circle. Such a concept is not new; it has been around for at least a few hundred years, perhaps coming to prominence in the mid 1700's. It was then that Johann Sebastian Bach became one of the champions of the new ‘Well-Temperament’ movement (i.e., circular tuning of the piano.) This new method of tuning the ‘clavier’ (an early version of the piano) made it suddenly possible to play the instrument in every possible ‘key’ of the twelve-tone circle.
There is therefore a need for different systems and methods of musical notation that allow music to be visualized in its true circular form.